MOVEMENT STUDY: DISCIPLINE‘s re-edit soundtrack originates from a promotional Kodak documentary titled “Movies Move People,” which endorses the “power of making images,” and encourages the consumer to invest their money and attention in capturing the world around them. I mined YouTube for preexisting visual content in order to sculpt a conversation about moving image construction and the exploitation of the female flesh via the cinematic apparatus. The rhyme, the rhythm, and the repetition act as a means to rewrite the familiar associations these sounds and images may occupy for the viewer. This work unfolds a feminist deconstruction of how movies move people. The screen speaks. Co-starring: Kate and Leo

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The film is both a playful rehearsal and an ode to the realm of childhood as well as to a cinema, which embraces this very topic. The opening scene shows the casting of a girl, one of the children from the local school in Floridsdorf. A rhythmical montage subsequently presents a collection of the most diverse children’s plays, ranging from the traditional to the contemporary, from elaborate group activities to more individual and confined games, from counting-out rhymes to up to date songs and rhythms. Underpinned by repetitive voice-over-sequences, a pulsating and absorbing narrative stream unfolds like a carefully woven pattern.

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Grainy images, fugitives lights, ghostly faces, a snowy road, a night ballad, a party at night, fish scales hiding the sun, a strange ritual, crumbs of a dream.
The soundtrack uses a famous translation tool to create a song, direct sounds from a Prague suburbs house where they keep a carp in the bathtub before cooking it, and a fragmented Czech popular poem. Willingly not translated, the sound, as are images, is treated as an abstract material.

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Music by Mirka Morales, Anthony Lopes, Kwisp, G. Krémer: Featuring sounds by Kwisp and others; Filmed at the Djerassi Artist Residency 2014; Shot on Fuji 8643 and 8622 16mm (both discontinued)

Reciprocity law is the inverse relationship between intensity and time. Reciprocity failure is an exception, likely to occur at the extreme spectrum of light and dark. The inverse relationship fails and substantial exposure compensation is required. I found the term amusing, as it imbues film with human neuroses. As in film, our interactions, with each other or with nature, are often not one to one. RECIPROCITY FAILURE is an experiment about natural cycles and process. I ultimately wanted to embrace a word we are superstitious about — failure.

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